Welcome to issue #128 of Tape Op.

A songwriter recently asked me to advise him on what type of recording equipment he should buy. He was looking for "a decent interface and a program… that won't make my demos sound like shit, as well as give an engineer a good idea of what I want to do." My advice? Any engineer or producer worth a damn can hear past any recording deficiencies. As a producer,I'm always happier to hear the most stripped-down version of a songthat is possible. The further the song gets fleshed out, the more it becomes arranged and produced. While these can sometimes be concrete ideas that help form the trajectory of a song, these decisions can also force the song into a corner. (Too much pre-production can sometimes be a bad thing, though not always!) But focusing on the recording equipment can also be another distraction, when songwriters could be working on their art instead. If you're a writer, make sure the balance is right for you, and make sure you are focusing on your creativity and expression.PS: We'd like to note that legendary engineer/producer Geoff Emerick passed away in October this year. I was lucky enough to meet and hang out with Geoff many times over the years, and it was a pleasure to get to know him. He worked on records that broke boundaries and inspired millions. A true creative recordist if there ever was one.PPS: Our interview with Tony Bongiovi last issue (Tape Op#127) stirred up some thoughts and questions. Read morehere.

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